Light and shadow

UNIVERSITY OF TORONTO

FACULTY OF MUSIC

100

lYEARS

1918-2018

Light and Shadow
Wind Ensemble

Gillian MacKay, conductor

with Aiyun Huang and Beverley Johnston,
percussion

and the strings of the U of T Symphony Orchestra

Saturday, February 2, 2019
7:30 pm

MacMillan Theatre, 80 Queen’s Park

We wish to acknowledge this land on which the University of Toronto operates.
For thousands of years it has been the traditional land of the Huron-Wendat,
the Seneca, and most recently, the Mississaugas of fhe Credit River.

Today, this meeting place is still the home to many Indigenous people from across
Turtle Island and we are grateful fo have the opportunity to work on this land.

Wind Ensemble: Light and Shadow
Gillian MacKay, conductor

PROGRAM

Aurora Awakes (2009)

John Mackey
(b. 1973)

Anahita (2005) Roshanne Etezady

(b. 1973)

I. The Flight of the Night

II. Night Mares

III. Sleep and ReposeTThe Coming of Light

Double Percussion Concerto (2014) Baijinder Singh Sekhon, II

(b. 1980)

I. Shadow

II. Light

with Aiyun Huang and Beverley Johnston, percussion

Intermission

Symphonic Metamorphosis Paul Hindemith

of Themes by Carl Maria von Weber (1943) (1895-1963)

I. Allegro

II. Turandot, Scherzo

III. Andantino

IV. March

with the Strings of the UTSO
(Uri Mayer, conductor)

U OF T WIND ENSEMBLE

Flute

Mollin Balisi
Ricci Ebron
Noah de Verheyen
Tyler Hastings
Micheile Hui
Vincenzo Voipe

Oboe

Bradley Duffy
Eric Luo
Clara Wheeler

Clarinet

Mary-Anne Barter
Andrea Chan
Mimmy Hsu
Kateiyn Katie
Mark Kim
Bruce Luo
Jolynn Robins
Kevin Vuong
Jonathan Wong

Bassoon

Eric Belanger
Andrew Duncan
Quentin Kamieniecki
(Contra)

Rae Pauze

Saxophone

Nicholas Bridi
Samuel Chen
Chris Jones
Jason Lau
Jesse Ma
David Yuan

Harp

Christina Kant

Trumpet

Daniel Barak
Alexis Dill
Adrian Rogers
Nioholas Stevenson
Jason Town

Horn

Simon Au-Yeung
Gabriel Conquer
Anna Ding
Bridget Gaines
Paolo Rosselli
Paige Summaoh

Trombone

Jasmine Fok
Ethan Mattel
Benjamin Storm
Joseph Distefano (Bass)

Euphonium

PJ Bradley
Garter Friesen

Tuba

Mike Liu

Benjamin Whitby

Piano

Adele Qian

Percussion

Julia Araiche
Britton-Rene Collins
Samuel Kerr
Lian Mcmillan
Keshav Sharma-Jaitly

Double Bass

Hannah Godfrey-Clarke

Graduate Assistant

Brendan McLean

Strings of the UTSO
Violin I

Emily Bosenius,
concertmaster
Diana Dawydehak
Miguel Esteban
Claire Heinrichs
Lexi Li

Amelia McNiven Fontani
Isaac Poon

Adelaide Sanchez
Lucy Warren
May Yu

Violin II

George Chen, principal
Justin Azerrad-Kendall
David Baik
Vivian Kwok
Jess Ng

Raphael Salonga
Sophia Won
Marcus Wong
Lucia Yu

Viola

Andrew Chan, principal
Kevin Michael Belvedere
Jocelyn Choi
Emelia Findlay
Madeleine Kay
Venjamin Law

Cello

Michelle Liu, principal
Christopher Chan
Alice Cho
Dominic Kim
Kevin Stephen Qdorico
Madeleine Smith

Double Bass

Hannah Godfrey-Clarke,
principal
Mikka Choi
Chiara Culmone
Shaun Rogers

MacMillan Theatre

Ian Albright,

Technical Director

Les Stockley,

Technical Assistant

Ross Hammond,
Production Assistant

Performance Collection

Karen Wiseman, Librarian

PROGRAM NOTES

Massachusetts-based composer John
Mackey’s Aurora Awakes invokes
the beauty and light associated with
the Roman goddess of dawn, Aurora.
This 12-minute work is intended to
portray the journey from the stillness
of morning twilight to the shimmering
brilliance of the breaking sun. The work
contains two notable quotations of
existing works. The first is a repetitive
figure in the keyboard percussion which
is derived from the band U2’s fleeting
guitar riff in their song “Where The
Streets Have No Name.’’ The second
is a direct quotation of the final E-flat
major chord of the first movement
of Gustav Holst’s First Suite in E-flat.
The chord, which is scored almost
identically, struck the composer as
being one of the brightest sounding
chords in the wind band literature.
Aurora Awakes won two prestigious
composition awards in 2009: the
American Bandmasters Association’s
Ostwald Award, and the National
Band Association’s “William D. Revelli’’
Award.

Anahita was inspired by a mural in the
Assembly Chamber of State Capitol
Building in Albany, NEW YORK, which
was painted by the 19th century
American artist William Morris Hunt.

His 1878 creation, spanning 18 feet in
length, is entitled The Flight of Night
and depicts Anahita, the Zoroastrian
goddess of the night, on her horse-
drawn chariot fleeing the rising sun.
Unfortunately, the mural was partially
destroyed by a leaking roof a few
years after its unveiling, and all that
remains today is the lower portion
below a false ceiling that was installed
to hide the damage. Hunt’s mural, and

its companion canvas painting, was
inspired by the traditional Persian poem
Anahita, which reads as follows:

Enthroned upon her car of light, the
moon

Is circling down the lofty heights of
Heaven;

Her well-trained courses wedge the
blindest depths

With fearful plunge, yet heed the steady
hand

That guides their lonely way. So swift
her course.

So bright her smile, she seems on silver
wings.

O’er-reaching space, to glide the airy
main;

Behind, far-flowing, spreads her deep
blue veil.

Inwrought with stars that shimmer in its
wave.

Before the car, an owl, gloom sighted,
flaps

His weary way; with melancholy hoot
Dispelling spectral shades that flee
With bat-like rush, affrighted, back
Within the blackest nooks of caverned
Night.

Still Hours of darkness wend around
the car.

By raven tresses half concealed; but
one.

With fairer locks, seems lingering back
for Day.

Yet alt with even measured footsteps
mark

Her onward course. And floating in her
train

Repose lies nestled on the breast of
Sleep,

While soft Desires enclasp the waist of
Dreams,

And light-winged Fancies flit around in
troops.

Baljinder Sekhon, II, Is an award-
winning composer currently based
in Tampa, Florida, who teaches
composition at the University of
Florida. Fils chief areas of interest
have been gameian, orchestral, and
electronic music, and so his Double
Percussion Concerto represents a
newer foray into the wind ensembie
realm. Commissioned by a consortium
of American universities, it features
two soloists playing a wide array of
pitched and unpitched percussion
instruments. The work explores
dichotomies in numerous ways—
through instrumentation, orchestration,
pitch collections, and the relationships
between soloist and ensemble—and
how seemingly opposing forces can,
paradoxically, be complimentary. For
example, Sekhon explains: “The
percussionists have complimentary
sets of instruments, with one
percussionist playing marimba (wood)
and brake drum (metal) and the other
percussionist playing a vibraphone
(metal) and large woodblock (wood). In
this scenario, the primary instruments
for each setup are generally the same
yet opposite.”

Paul Fiindemith (1895-1963) was
a prolific 20th century composer,
theorist, and teacher known for his
many sonatas, operas, ballets and
choral and orchestral works. Fie is also
widely recognized for his contributions
to music theory and innovations in
the use of tonal harmonies. One of
his most famous works for orchestra
is the four-movement Symphonic
Metamorphosis of Themes by Carl
Maria von Weber which was written
in 1943 while he was teaching at Yale
University.

At the time, Russian choreographer
Leonide Massine had been prodding
Fiindemith to arrange the music
of Weber for a ballet. In 1940, the
composer wrote two piano pieces
which would later become the
first and third movements of the
Metamorphosis. When the ballet
project feii through, Fiindemith opted
to turn the movements into a full scale
orchestral work. The themes of the
Metamorphosis are taken from the
little-known incidental music (Eight
pieces. Op. 60) written by Weber for a
play by Carlo Gozzi. In 1952 and 1990,
it was subsequently choreographed
for new ballets. The fourth movement,
which was arranged for concert band
by Keith Wilson and premiered in
1962, has become a popular and
familiar single-movement item on many
university-level wind band concert
programs.

Program notes by Brendan McLean

BIOGRAPHIES

Gillian MacKay is Professor of Music
of fhe Universify of Toronfo, where
she conducfs fhe Wind Ensemble
and feaches conducfing. Gillian has
an acfive professional career as a
conducfor, adjudicator, and clinician.
She has conducted honour ensembles
fhroughouf Canada and infernafionaily,
and serves as Associate Conducfor
of fhe Denis Wick Canadian Wind
Orchesfra. Dr. MacKay has adjudicated
Canadian band fesfivals af local,
provincial, and nafional levels in
Canada. She has conducfed honour
bands and judged compefifions
abroad, including Singapore, Thailand,
and Korea.

Dr. MacKay enjoys presenfing clinics
and workshops af conferences and
symposia, and is known for her
work on fhe relafionship befween
conducfing and mime. Currenfly, she
is invesfigafing fhe applicafion of fhe
Michael Chekhov acfing technique to
movemenf and meaning in conducfing.
Gillian leads fhe Universify of Toronfo
Wind Conducfing Symposium each
July, and has been fhe guesf insfrucfor
af ofher symposia in Canada and
abroad.

Gillian earned degrees from Universify
of Lefhbridge, McGili Universify, and
Northwestern Universify.

Aiyun Huang is an infernafionaily
renowned percussionisf and a leading
specialisf in new music. Globally
recognized since winning fhe 2002 Firsf
Prize and Audience Prize of fhe Geneva
Infernafional Music Compefifion
(awarded in Percussion only fhree
fimes since 1939), she is a champion of
exisfing repertoire and as a prominent

voice in the collaborative creation of
new works. Aiyun has commissioned
and premiered over 200 works as a
soloisf and chamber musician, and is
a champion of Canadian music bofh af
home and abroad.

Globe and Mail crific Robert Everett-
Green describes Huang’s playing as
“engrossing to hear and to watch” and
her choice of repertoire as capable
of “renovafing our habifs of listening.”
Aiyun Huang currenfly holds fhe
posifion of Associafe Professor af
fhe Universify of Toronfo Facuify of
Music and is fhe director of fhe U of T
Percussion Ensemble.

Beverley Johnston is one of Canada’s
leading percussionisfs. Over fhe
years, she has commissioned and
performed many works by leading
Canadian composers some of which
have become a sfaple of fhe sfandard
percussion repertory around fhe
world. In honour of her exemplary
commifmenf to fhe performance of fhe
music of Canadian composers, she
has been awarded fhe disfincfion of
“Canadian Music Cenfre Ambassador.”
Her excepfional sfage presence, her
remarkable virfuosify and musicianship
have esfablished her repufafion beyond
fhe border of her nafive Canada where
she fours and performs frequenfly
as a soloisf and chamber musician.

She has been invited fo numerous
infernafionaily renowned marimba and
percussion fesfivals over fhe years. She
has recorded six solo CDs and can be
heard as soloisf and chamber musician
on many ofher recordings, which are
available from fhe Canadian Music
Cenfre and iTunes.

Beverley Johnston teaches at the
University of Toronto and is a Marimba
One and Paiste Artist.

For more information, please visit her at
www.beverleyjohnston.com and on
Facebook.

Upcoming U of T Large Ensemble Performances

U of T Wind Symphony
Fri Feb 8 at 7:30 pm
MacMillan Theatre | Ticketed

Graduate Student Conductor Concert
with members of the UTSO
Fri Mar 8 | 7:30 pm
Walter Flail | Free

U of T Wind Ensemble: Trains and/of/or Thought
Fri Apr 5 | 7:30 pm
MacMillan Theatre | Ticketed

Visit music.utoronto.ca for concert details and tickets.

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CULTURE
CORRIDOR

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